“Parul Shah danced a “Chasing Shadows” solo that brought the house down. Her sources are splendidly hybrid: contemporary dance, the Kathak technique of north India, the female temple-court artists of south India. They are, in fact, her subject. You could feel what her program note stated, “the inner struggle of a woman who wants to move forward but cannot because her shadows are not only her past but the only identity she knows.”

Alastair Macaulay, The New York Times, NY

“Rarely has the idea of tradition as a springboard for innovation been presented so persuasively… Kathak, with its fast spins and rhythmic stamping, is often associated with male dancers. But Ms. Shah’s first traditional solo, in ankle bells, stressed a feminine lyrical fluidity. At the same time her complex, rhythmic foot work during the abstract passages was a tour de force.”

Anna Kisselgoff, The New York Times, NY

” Her students, Daksha Seth, Adiit Mangaldas and Parul Shah, to name a few, have created their own distinct, individual dance styles, guided only by the spirit of dance, as Kumudini did”.

First City, Delhi, India

“The Parul Shah Dance Company delivered a female trio – an excerpt from “Samanvay” – that concentrated on style. Several moments when the women suggested shapes of ideal geometry, as in ballet, stay in the mind.”

Alastair Macaulay, The New York Times, NY

“Ms. Shah’s dancing combined dignity
and grace, and her darting arms and
happy whirls conveyed a sense of
mounting eagerness.”

Jack Anderson, The New York Times,  NY

“Kathak, the percussive dance of northern India, was the third classic tradition represented on this Asia Society evening. The three dancers were from the New York-based Parul Shah Company, performing an excerpt from a story ballet, Radha Naval, in which Radha, anticipating the arrival of her lover, Krishna, recollects (in the words of the program) “his mischief during the spring Holi festival, celebrated by smearing everyone with colored powder and drenching them with saffron-dyed water. Her reminiscences take her through a series of emotions—longing, frustration, and ultimately joy.” The colored powder was, to my eyes, ineffable; however, the rolling series of emotions experienced by Radha (embodied by the choreographer) as she related to friends in what appeared to be a forest, again created entirely through dancing, were crystal clear. In much of the Kathak I’ve observed in New York, the emphasis has been pretty much on the musicality and virtuosity of the footwork; Ms Shah here added luminous port de bras, and the dynamics of her choreography emphasized an element liquefaction in the tattoos for the feet, rather than staccato articulation. Very fine—indeed,…”

Mindy Aloff, exploreDance.com

“In the same vein, you have Parul Shah, who grew up in New York and brings her own distinct bold contemporary flair to Kathak and to the choreography of The Parul Shah Dance Company – adding a modern stylishness to this dance of the royal courts.  As Parul Shah and her dancers spun around, their floating skirts whirring around them, you got goose bumps seeing a dance you’ve known since childhood but now with an added attitude, a 21st century touch. In this continuing east-west dialogue, The Parul Shah Dance Company, comprising of Parul, Reena Shah and Ammr Vandal, has performed at mainstream venues like Jacob’s Pillow, Fall for Dance at City Center, Lincoln Center, and Summer Stage.  As Shah says, “Things happen in a very holistic way and it’s based more on intuition rather than intellect.”

Lavina Melwani, Indian Dance Out of the Box